On Fri 14 Oct 2016 at 17:14:45 (-0700), Flaming Hakama by Elaine wrote: > > 5.) Is there any good "tutorial" about proper use of "D.S. al Fine" > > and weird usages of those Segno signs? I've seen some, but wouldn't > > mind seeing some nice reference just to make sure that I properly > > understand the correct usage in all weird cases. > > I'm not sure what a weird usage of D.S. would be. > What do you have in mind? > > In terms of complexity, I've seen pieces that have more than one D.S. > and/or coda, in which case you double up the symbol (D.S.S.) > > This link covers the standard usages: > http://learnmusictheory.net/PDFs/pdffiles/01-01-08-RepeatSigns.pdf > > I'm not sure that "weird" usages would be covered in any tutorial. Maybe > in a more comprehensive reference? Does Gould have anything to say about > it? > > I've also started using the \barline "S" rather than the traditional segno > sign. In rehearsals, this has led to a new saying, "squiggle is the new > D.S.", which is quaint if somewhat inaccurate (squiggle is the new segno). > > I find the "S" barline easier to see visually on the page, and easier to > deal with within lilypond since it is part of the musical flow and doesn't > compete for space above the staff. > > Especially if you are using the traditional segno symbol as marks, and also > for using the coda symbol, then you will run into issue around line breaks > and multiple rehearsal marks. In those situations, this snippet helps: > http://lsr.di.unimi.it/LSR/Snippet?id=977 > > I have consolidated my working notes for long repeats at > http://flaminghakama.com/lilypond-lilypond-lilypond > > One final opinion about repeats: if the roadmap gets too complicated, it > will be difficult for musicians to read it. Unless you have serious space > constraints (reading from marching band lyres), it saves rehearsal time and > everyone's brainpower to simply write out things that are similar but not > identical, rather than trying to save ink and make things dense with > quasi-repeats and lots of annotations.
+1 A published example: compare Tippett's "O by and by" in "A child of our time" with the 8-part arrangement. The latter's D.S. al Fine is very confusing because it envelops a normal long repeat. So confusing, in fact, that Schott felt the need to write "last time only" in its 2nd-time bar. Cheers, David. _______________________________________________ lilypond-user mailing list [email protected] https://lists.gnu.org/mailman/listinfo/lilypond-user
